'The Song of the Pirate,’ and that of the 'Criminal Con-
demned to Die,’ in addition to those previously mentioned.
Of these, the latter is one of such peculiarly energetic character, as to need no comment. The other is one of the most
favourite poems known in Spain, and having been set to music, is therefore heard repeated more frequently. It has been said to have been taken from the French, but I believe erroneously. It bears strongly the impress of Espronceda's genius; and if the poem intended be either of those by Floran or Victor Hugo, any one who will take the trouble of comparing them will observe that they are » essentially different, as each also is from the song of Lord Byron's ’Corsair.’
At the first view of it, the 'Diablo Mundo' appears to be an imitation of 'Don Juan,’ but it would be as unjust to declare it so, as to say the latter had been copied from the various Italian poems written in the same style. Espronceda might have had the idea suggested by reading Lord Byron's poem, or Goethe's 'Faust,’ or both, but he has carried it much higher, and given the outlines of a nobler conception than either. He begins by supposing that, absorbed in meditation, during the silence of the night, he hears an extraordinary noise, which calls back his feelings and arouses them. That confused noise, with sublime music and solemn sound, are all the passions of the world, all the interests found in life,—the affections and hatreds, love, glory, wealth, the vices and the virtues; they are, in fine, the complaint of the whole universe that comes like a revolving whirlwind, and displays before the fancy a thousand allegorical monsters, traced with inimitable facility and astonishing vigour.
The visions pass away, the noise goes gradually off, losing itself in the distance, until it ceases, where begins the introduction of the poem. The first canto is the exposition of the great drama proposed to be developed.
